‘Showing Up’ Review: Kelly Reichardt Captivates With A Warm & Comical Look At The World Of Arts & Crafts [Cannes]

Coldplay have welcomed Kelly Rowland to the stage during their North American tour with a group performance of the Destiny’s Child song, ‘Independent Women Part I’.

Kelly Brook is set to tie the knot with her boyfriend Jeremy Parisi next month after the pair secretly got engaged, according to reports. The 42 year old model has been in a seven-year romance with the hunky Italian, 37 - but the pair are yet to publicly confirm if they're engaged despite the beauty having been seen wearing a ring on her wedding finger. And Kelly, who recently had a disastrous chemical peel, is said to have already started location scouting with Jeremy, searching for the perfect wedding venue in Italy.

Taylor Kinney and his girlfriend Ashley Cruger are enjoying a day out together.

Fresh off of its original seven-episode British run on BBC One, Adam Kay’s black comedy-drama “This is Going to Hurt” arrives on AMC this week, ready to give American audiences a taste of its wicked wit. Based on his nonfiction comedy novel of the same name, ‘Hurt’ brings a unique perspective to the UK medical scene circa 2006, providing a hearty dose of sociopolitical commentary in between bone-dry humor and painfully relatable interpersonal drama.

As a procedural drama centrally interested in the radicalization of a young Muslim boy in Belgium, Adil & Bilall’s “Rebel” pulsates with terrible inevitability. Falling behind at school, with an adored older brother already having made the trip to Syria and a trafficker whispering in his ear, it’s less a question of if Nassim (Amir El Arbi, another tremendous kid actor for Cannes ’22 to tick off) is going to find himself on the Jihadist frontline, but when.

Alison Hammond has been racking up the compliments once again as she showcased another glam look on social media. The This Morning host has ditched the UK for sunny France as she headed to Cannes over the weekend.

Filmmaker Kelly Reichardt’s work with Michelle Williams has spanned four movies now with the Cannes Film Festival closer Showing Up. 

Kelly Reichardt has been making minimal Americana since the early 1990s, mostly around the state of Oregon where she lives and mostly about her favored awkward squad: quiet square pegs who don’t quite fit the round holes society provides. In this ongoing quest she has found many collaborators, but none more attuned to her recessive brand of naturalism than Michelle Williams.

Owen Gleiberman Chief Film CriticLizzy Carr (Michelle Williams), the central character of Kelly Reichardt’s “Showing Up,” is a sculptor who is finishing up a series of ceramic figures she’ll be presenting in a gallery show. We see her working, throughout the movie, on the small clay statues — all women, each one about a foot tall, some mounted on rods, all with an intentionally rough, patchy surface that may look awkward and unpolished if you’re close up to it, but when you stand back a bit you see the aesthetic elegance of her style. (Giacometti would understand.) She’s making sculptures of female characters who look a bit ghostly in their lack of perfect line, but that’s part of their design (they all appear a little tormented), and that quality is balanced by the delicate surprise colors they’re painted with, which express their inner life.

Michelle Williams hits the red carpet for a screening of her new film Showing Up at the 2022 Cannes Film Festival on Friday (May 27) in Cannes, France.

“The Stars at Noon” finds the French filmmaker Claire Denis shooting in Panama doubling for Nicaragua; directing a cast of Yanks, Brits, and assorted Central Americans; and working from a script switching between Spanish and English. Internationally coproduced Towers of Babel such as this aren’t at all uncommon at the Cannes Film Festival, but the errors in translation all over this disappointing foreign-relations drama run deeper than simple differences of ethnicity or language.

There’s really no overstating the sociocultural impact of Elvis Aaron Presley, whose music and celebrity cleaved the twentieth century in half as an Ozymandias colossus foretelling the future of fame: merchandising, overexposure, descent into self-parody. That’s all in Baz Luhrmann’s new biopic “Elvis,” though mostly because he’s jammed everything he possibly can into its million-millennia run time.

As countries go, Iceland is probably one of the most fast-changing in terms of its biological make up, its intense volcanic activities reshaping its surface and contours at a speed fast enough to be perceived within a single generation. Paradoxically, it is also a place where time appears to stand still, with the sun omnipresent for half the year and absent for the rest.

Deadline’s studio at the 2022 Cannes Film Festival kicked off at the American Pavilion by hosting fest-goers such as Joel Edgerton of The Stranger, Jesse Eisenberg and Julianne Moore of When You Finish Saving The World, and many more. Click on the photo above to launch the gallery.

It probably says something, in spite of their public comments to the contrary, about the severity of the Coen Brothers’ break-up that each of them has proceeded to make a movie that you not only can’t imagine them making together, but that is so easily classifiable — after all, “Shakespeare adaptation” and “musical bio-doc” are two of the most venerable film types of today. The only genre you could safely consign them to before now was their own; they made “Coen Brothers movies,” and everyone knew what that meant, even if they couldn’t precisely pinpoint it.